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Margaret Cho fed homeless for the holidays in honour of Robin Williams

By:
WENN.com
Jan 05, 2015

Actress/comedienne Margaret Cho spent the holidays feeding the homeless in California in honour of late actor Robin Williams. The funnywoman had a hard time dealing with Good Will Hunting star's death in August (14), and dealt with her sadness by working to raise awareness for a cause close to Williams' heart.
She tells U.S. talk show The View, "I spent the last two months feeding the homeless in San Francisco. It was my way of dealing with the death of Robin Williams, because I missed him and I think people don't understand what a huge homeless activist he was - not only with comic relief, raising $70 million with Whoopi (Goldberg) and Billy (Crystal), but he had a clause in his contract where a certain percentage of the workers in the movies that he did had to be homeless workers. So he gave people a dignified wage.
"I feel like that part of his legacy has been lost and I could not stop grieving him and Michael Pritchard, who is also a homeless activist and comedian, told me, 'Don't grieve Robin, be Robin'.
"So I went out on the streets of San Francisco for two months with the band Frightwig and we went out there and we played and did songs and made a meeting point for people to donate clothes, food... and money. (It was a) very little version of comic relief."

If there's one thing anyone in the political spectrum should learn from movies and television, it's that you should never go off on a tirade about your secret plans or intentions — odds are, there's a hidden camera running. But Mitt Romney is clearly not too well-versed in this sitcom staple, as the presidential candidate used a private fundraiser earlier in 2012 as a venue to voice his true thoughts about Obama supporters.
The Republican Party's White House hopeful made a series of controversial remarks about the community of Americans behind President Barack Obama, deeming the lot "people who pay no income tax," and that they are people "who are dependent upon government, who believe that they are victims, who believe the government has a responsibility to care for them, who believe that they are entitled to health care, to food, to housing, to you-name-it."
Romney went on to spout additional comments, such as the proclamation, "Had [my father] been born of Mexican parents, I'd have a better shot of winning this." The former governor can be seen addressing the fundraiser attendees in the below video segments, courtesy of Mother Jones:
It's hard to believe that with so many film and TV characters who have wound up on video during particularly incriminating moments, Romney still ended up in the middle of the ol' caught-on-camera shtick. Hasn't he ever seen Machete? Senator McLaughlin found himself the secret subject of a career-destroying (and ultimately life-ending) revelation of all the crimes and corruptions in which he was involved.
And then there's Monster's Inc.: The nefarious Henry J. Waternoose was undone in the similar fashion — ranting to his top employee James Sullivan about how he'd "kidnap a thousand children" before letting his mega-corporation crumble. Unbeknownst to Waternoose, the entire ordeal was caught on camera (courtesy of the company's studio set used to film monsters practicing their scare tactics). Waternoose was abruptly taken away by the authorities, and was never heard from again.
Another example of the trope finds itself in Batman &amp; Robin, in which Batman uses a recording of super villain Poison Ivy admitting to the murder of her associate Mr. Freeze's wife, in order to turn Freeze against her. That's politics, baby.
In a rare audio-only version of this cinematic element, Old School villain Dean Pritchard found his undoing in a recorded admission of engaging in a bribe with a college student. The cassette tape, thanks to the fancy footwork and fighting styles of Will Ferrell, found itself in the right hands to remove Pritchard from his administrative position, and allow the good guys (the same good guys who bullied poor Pritchard mercilessly as a kid... wait a second...) to prevail.
And finally, the great medium of television. One of the most memorable examples of a recorded conversation unexpectedly doing someone in happened on a plot-twisting episode of Friends, during which the entire gang caught Rachel seducing Ross with the fabled "Mt. Tibidabo" story (a guaranteed technique to earn someone's romantic interests... if only for a night). After that, Rachel no longer had the upper hand over the innocent Ross, who had been blamed for reinforcing the romance between the two against Rachel's wishes. But as the tape proved, she was the one who fired first.
Of course, it worked out just fine for Rachel, though not so for the rest of the examples in this company. How exactly will Romney recover from this episode?
[Photo Credit: WENN]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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